Welcome! It’s been another solid week with some really great new releases; including a few that will likely make my year end list. I’m starting a “Pick of the Week” or two (or 3), so you can easily find what I liked the most each week. (Thanks for the suggestion, JRo.) Thank you to all who have subscribed!
PICKS OF THE WEEK
METAL:
Schizogen – Spawn of Almighty Essence — 9/10
INDIE:
Purr – Like New — 9.5/10
Agnes Obel – Myopia — 9.5/10
To the reviews!
METAL
Schizogen – Spawn of Almighty Essence Damn. Schizogen means business. Certainly, I was expecting shredding tech-death, but the tempo shifts in the opening track, “Birth of the Great Mass,” are f’ing gnarly. This Ukranian band’s strongest songwriting tool might actually be their frequent use of tempo changes. Whenever they occur, it either messes with your equilibrium, or just makes you want to grimace harder. And as they continue to occur throughout the album, I’m impressed with how they don’t detract from the flow of the song. You get used to being knocked around and it just pumps things up more.
Most of the riffs on Spawn of Almighty Essence are pretty traditional in tonality, with Cannibal Corpse probably being my closest reference point. But they do sometimes get a little more dissonant, or a little more melodic, with some really nice interplay between the bass and guitars. And I approve of the band’s liberal use of guitar harmonics, and scattered bass pops for extra emphasis. Further into the album, those more “impressionistic” parts (if you will) get better and better, and I would be pleased if Schizogen explored more of that for their next release. The penultimate track, “Last Stage of Colonization,” is particularly vicious and face-twisting…and seven minutes long.
Production-wise, the bass is mixed nice and loud, which I think always benefits this kind of metal. The vocals stay very low and guttural the whole time, doing their job competently, but not grabbing my attention much. Schizogen pulls off some pretty nasty stuff on their sophomore release, and they are definitely a band to watch. — 9/10
Isle of the Cross – Excelsis Within the first minute of pressing play, my thought was, “another djent band playing recycled Chaosphere riffs,” and I figured it would probably end up deleted pretty soon. Boy was I in for a surprise. After a constant stream of syncopated chug riffs that were cool, but nothing particularly special, I thought I’d hang around for some of track 2. When the extended flute solo (over a minute!) started I suspected things might be taking a turn for more interesting territory. Follow that up with a Dream Theater-like keyboard solo, some epic prog-metal intensity, and an atmospheric outro with soft, glitchy electronic beats, it was clear that this band had some tricks up their sleeve.
Next comes…power metal riffs with operatic choir vocals, and full orchestra! They lean into the power-prog, and things get real dramatic. Some very cinematic interludes start to appear, bringing to mind the start of an epic battle, a la Lord of the Rings, and the album ventures into more brutal territory with some really intense, highly syncopated chugging riffs, and fast, low growls that exactly match some of the rhythms. The epic prog-metal returns with powerful, melodic vocal lines like, “I’ll never forget the pain of losing youuuuu!” fading into whispered, “it’s not too late.” A bit of an eye-roller, but, alright, go on. You have my attention.
Aaaand we’re back at The Shire, and everyone is sad. Flutes and strings hold long tones while a mournful, male falsetto singing “I will join you in the stars” makes me think that we’re back into some pretty self-serious, dramatic power-prog concept album schmaltz. Cue the power ballad wailing guitar solo and my assumptions are confirmed! Ride it out with the final chorus, complete with key change (well, almost. They end up back in the home key, but it does that kind of “epic, end-of-song” modulation) and fade out! I’m only 50-60% through this hour long album at this point…
A few more vocal styles (male and female) show up, we get very close to excessively cheesy power metal territory (or maybe we actually get there; depends who you ask), and I’m pretty amazed at how much has happened since those first djent riffs. If Isle of the Cross had made an album within the framework of just one or two of the sub-genres explored in Excelsis, I don’t think I’d be writing about it. But even though almost none of these styles are sounds I typically gravitate towards, the fact that the band had the guts and ambition to make this grandiose of a debut album deserves recognition. I may never actually listen to the album again, because there’s so much other music that I have a deeper connection with, but I gave it two full listens to write this review, because early on it kept me wondering what would happen next. That’s gotta count for something. — 7.5/10
Xenobiotic – Mordrake Xenobiotic’s 2018 Unique Leader debut caught my ear, but fell short of making my year-end list, so I was curious to see how the Australian tech-death band has progressed on album #2. The vibe is apocalyptic, with lots of reverb and delay used on the lead guitar lines and additional textures, creating a suffocating and frightening atmosphere that surrounds the whirlwind of blast beats, relentless riffs, and monstrous death metal growls and screams. A little bit of melodic singing pops up in a couple songs, but besides that, not much sticks out much to separate Mordrake from dozens of other tech-death records. The metal world is so oversaturated with technically proficient bands that are good, but not great, and as of now, Xenobiotic remains one of them in my book. There’s nothing that I dislike about their music, but there’s also nothing that truely grabs my attention to separate them from the herd. — 7/10
Demons & Wizards – III Demons & Wizards is the power metal side project of Blind Guardian vocalist Hansi Kürsch, and Iced Earth guitarist/main songwriter Jon Schaffer. This new album is their 3rd overall, but their first in 15 years. I loved Blind Guardian’s Nightfall in Middle Earth and A Night at the Opera in the early 2000’s, but started to lose interest after that. I also listened to a fair amount of Iced Earth around that same time, and also lost interest by the mid-2000’s. [Iced Earth actually came up in conversation with a friend recently, and he asked, “have you listened to them since back then?” I said, “No, does it not hold up?” His opinion was that most of it did not. I haven’t bothered yet to go back and see for myself, but I wasn’t surprised to hear that.]
Demons & Wizards pull no surprises. They sound like Blind Guardian vocals (Hansi’s voice is so recognizable that he can’t really sound like anything else), and Iced Earth riffs, which are a mix of thrash technique (heavy use of palm-muted power chords), galloping power metal rhythms, and triumphant slower songs. So, if you really like those two things, you’ll probably like this band. I’m on the fence, so I went into this album fully aware that it might be decent, but it could also be pretty unoriginal and full of cliches. Half-way through my second full listen, I’m concluding that it’s a bit of both. The fastest, heaviest, and most bombastic songs are decent, the rest are mediocre. What it really comes down to, for me, is I still enjoy Hansi’s singing, but I would much rather hear Bilnd Guardian’s far more interesting guitar work under his vocals. Sorry, Jon, but your writing is a bit too basic for my tastes. — 6/10
RnB
53 Thieves – After Hours – EP I was dancing all around the kitchen making dinner to this EP the other night. I’d say there’s a good chance that it will end up on my year end list. The J Dilla-inspired beats mostly hover around 85-95 bpm (perfect slow groove dance tempo) and the production is nice and crisp. I love how the vibe is very laid back, with soft female and male vocals, warm keyboard pads, and record crackle sounds, but it still compels me to move. This energy is helped by the brighter, rhythmically exciting synth sounds that enter at just the right time, and vocal melodies that are understated, but assertive and perfectly placed at the same time. I look forward to hearing more from this promising new group. — 8.5/10
Kristina Alcorodo – Soul & Mine – EP Muted drums, lonely sounding electric guitar chord progressions, and Ms. Alcorodo’s smooth alto voice give her debut EP a laid back, dreamy feel. It’s an easy, enjoyable listen, though it doesn’t stick out much from the slew of other similar artists. I don’t see myself returning much to this, but it will be added to my massive RnB playlist, and I’ll enjoy it when it comes up on shuffle. A decent start to a career, and I will keep an eye out for future releases that will hopefully show some growth in songwriting. — 7/10
INDIE
Purr – Like New Purr’s debut album (on Anti-, for what it’s worth) is easy to love. Within the first 45 seconds of pressing play, I thought, “oh, this is really good, and I’m probably going to love this record.” There’s an element of classic 60’s-70’s songcraft that brings to mind golden-era Fleetwood Mac at times, and it carries an easygoing, sunny mood throughout, even when things get a little bittersweet. These songs would already be great and hold their own with bare bones production. But the arrangements are fantastic. Strings, various keyboards and organs, woodwinds, banjo, xylophone, extra percussion, and unobtrusive lead guitar lines provide beautiful textural variation to the bass/drums/rhythm guitar core that keep the songs moving forward. Purr is a female/male songwriting duo, with extra musicians filling out the live band. Both writers sing, and they have similar vocal timbres, and medium to medium-high vocal ranges, so their voices mix really well together, often doubling each other. The vocal style is warm and laidback, even when they are singing loudly, and always inviting. This album will definitely make my year end list. — 9.5/10
Agnes Obel – Myopia Agnes Obel weaves hauntingly beautiful tapestries of sound around her incredible voice. She has an elasticity to her vocal lines, reminiscent of Joanna Newsome, but without such a polarizing tone. [I love Newsome, but I know some people can’t stand her voice.] Gorgeous arrangements of plucked and bowed strings, pianos, keyboards, and mallet instruments decorate the slightly Kate Bush-ish vibe. On top of what would already be an incredible album, otherworldly pitch-shifting effects are tastefully applied here and there to make the overall experience even more amazing. Myopia proves that Agnes Obel is a truly gifted artist, at the forefront of modern, sonic craft, and emitting the energy of an old soul, with ancient wisdom to impart. — 9.5/10
Wilsen – Ruiner Wilsen plays a wistful brand of dreamy indie rock with slight shoegaze elements. The rhythm section is usually pretty straightforward, with lots of steady 8th note guitar strumming, and drum beats that don’t stray far from just providing a driving pulse. But the singer, with her low, soft, laidback delivery, and the lead guitar lines that are usually soaked in reverb and delay, give everything a very spacious atmosphere. Occasionally, delicately finger-picked acoustic guitar is incorporated, creating a slightly psychedelic folk vibe when mixed with the spacey guitar textures. Overall, the album emits a very comforting feeling that is both calm and uplifting. — 8.5/10
Six Organs of Admittance – Companion Rises Spooky synth into. Acoustic plucking, then distorted guitars? Now here’s an interesting sonic idea that I have heard much. Upfront bare acoustic guitar, heavy psych rock riffs and grooves in the back of the mix, occasional buzzy synths and guitar noise. Almost like they’re in the next room. Vocals low and hushed like old Iron & Wine, but not really in the writing style. After two songs with that kind of mix, the heavy psych is replaced with more typical, subdued percussion and guitar sounds. Two songs later, the rock is back! The album continues on with a varied balance of pastoral, indie folk, and louder, rock elements. It’s an engaging approach to arranging, and provided a wider range of dynamics, timbres, and textures than I had expected. Six Organs of Admittance has a lot of albums, and I’ve sampled a handful that I enjoyed a lot; add this one to the list! —- 8.5/10
Draag – Clara Luz – EP Something about Draag makes me like them more than the average shoegaze/early-90’s/Indie/Alternative/slacker rock band. They build a beautiful, lush atmosphere with various guitar effects and keyboards, while still rocking out enough to provide shifting dynamics. Half of the EP’s 6 songs shift to a different feel, using electronic percussion in place of drum set, which creates an even more ethereal vibe than the rest. But the live drums jump back in with an energetic, syncopated beat that starts off the final, and most energetic track. Draag makes a strong debut with Clara Luz, and I look forward to hearing more from them. — 8/10
Cate Le Bon & Group Listening – Here It Comes Again – EP I was not familiar with any of Cate Le Bon’s other work before hearing this, but she has a notable indie rock resume, and I have begun sampling her other recordings, which sound good so far. Group Listening is an experimental piano/clarinet duo, and this EP is more on the experimental side than Le Bon’s other work that I’ve heard. After a short intro track of gently falling piano and clarinet notes,”Here It Comes Again” glides on by with piano, recorders, lightly plucked harp (or something similar; it’s not exactly an obvious harp sound), and soft, male vocals. Next up: “Sad Nudes” is a funny title for a meditative instrumental track with gently arpeggiated pentatonic scales that wouldn’t sound out of place in a fancy Chinese restaurant. Low bass clarinet (I think) and soft, analog synths ebb and flow through “Miami” before reaching the final track. “Magnificent Gestures” is the most upbeat song here, and the 2nd track to feature vocals. A steady, but muted, lo-fi (almost Casio-sounding) dance beat supports some quirky keyboard playing, while Ed Dowie’s vocals help give the whole thing a Syd Barrett feel. It’s a peculiar little EP, that I kind of wish was longer, to give it more time to develop. But I will be further exploring the artists involved. — 7.5/10
JAZZ
Pat Metheny – From This Place From the title, cover art, and first track, “America Undefined,” it’s clear that Pat Metheny has joined the ever-growing collection of musicians creating very topical “concept” albums these past few years (including his drummer, Antonio Sanchez, who released a brilliant album, Lines in the Sand, in 2018, that I prefer over this. But I digress.) That opening track is particularly grand and dramatic, with orchestral embellishments that help exaggerate the dynamics. As expected from the themes presented up front, a feeling of unrest and turmoil does continue to surface occasionally across the rest of the album, but overall it’s not as much as I would have expected from the sound of the epic, 13 minute opening track. The album progresses with a generally impressionistic, at times cinematic style; somewhat similar to that of Sanchez’s previously mentioned album, Brad Mehldau’s Highway Rider or (last year’s incredible) Finding Gabriel, or Brian Blade’s Fellowship. Although the dynamics have a varied contour, it never reaches the intensity of “America Undefined,” which is kind of disappointing. The playing and arranging is, of course, of the highest caliber throughout, but it seems kind of anti-climactic to sequence the album this way. The title track delivers a beautiful vocal contribution from Meshell Ndegeocello, but at 77 minutes, a bit too much time is spent being contemplative. With such a dynamic, epic opening track, I’m left wanting more fire. There’s a picture of a goddamn tornado on the cover! Isn’t this your socio-political outrage album?! Alright, whatever, Pat. It’s cool, but time invested is not quite outweighed by the return I was hoping for. —7.2/10
ELECTRONIC
Jonas Munk – Minimum Resistance This is the sound of peace and tranquility. 45 minutes of gently swelling guitars that slowly echo back into the distance. I was in bed with a bad cold the other day, wanting something soothing and relaxing to gently massage my eardrums, and this album was perfect. Rating music, as I do with these reviews, is different with ambient than most other genres that require closer attention to properly examine. It’s far less about how intellectually or emotionally stimulating the music is. Here, the waves of sound just wash over you, and whether you’re intently listening, or it’s playing in the background while you do other things, the calming effect is exactly the same. And there are no dynamic or textural surprises that pop up anywhere. So if you’re looking for something consistently meditative, but actual “meditation” music feels too cheesy, look no further than the beautiful sonic tapestries provided here by Jonas Munk. — 10/10
Eluvium – Virga I If one ambient album this week isn’t enough for you, here’s another! I can’t help but compare this to the Jonas Munk album above. This is good, and consistent, but not as perfect as Minimum Resistance. It’s much hazier, and there are some subtle pitch-shifting effects that drag notes a little out of tune. It’s a cool effect, but it makes for a slightly less calming effect. In the end, Virga I’s cloudiness is enveloping, but not quite as inviting or comforting as I prefer my ambient music to be. — 7.5/10
Sightless Pit – Grave of a Dog Pounding, distorted electronic beats, mournful, wordless female vocals, and black metal screams start off the debut album from Sightless Pit. This new trio features Kristin Hayter (AKA the horrifically intense Lingua Ignota), Lee Buford (drummer for experimental-metal duo the Body) and Dylan Walker (vocalist for Full of Hell), and now everything makes sense. No guitars or live drums here; just howling vocal exorcisms, haunting keyboards, and seething electronic noise. Sometimes it’s quiet and creepy, and the rest of the time it’s a full-on auditory assault, with little middle ground. While I appreciate the aesthetics of this kind of sonic terror, it’s not something I see myself returning to. — 6.5/10